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Found 94 results

  1. True to the title, this is the first time I have really attempted to make a symphony. I'm not sure if it really is a symphony; if it is, it's a highly unusual one, but it does have about three movements including a scherzo. The instruments are, in no particular order (I didn't think to put them in concert order): Marimba, Acoustic Bass, Piano, Jazz Guitar, Vibraphone, Celesta, Strings, Cabasa, and Crash Cymbals. The piece lasts about 9 minutes and 40 seconds, and was written in Musescore 2 using the Compifont soundfont. I worked on it on and off for the past 2 weeks. The entire piece is of original composition, unless I somehow copied existing melodies without realizing it. In the mp3, there are popping sounds that I believe are caused by an issue with Musescore and the guitars. The first movement is on the slow side, and transitions into the second movement which is the scherzo. The scherzo ends without transitioning into the third movement. The third movement is more or less the first movement, but in reverse. I didn't know how I wanted the third movement to go, but I did know I wanted to see how everything sounded in reverse. I went to a website that reverses midi files. The website kind of messed up some of the lengths of the notes, but that sounded interesting to me. I took what sounded the best, added some more things, and made the third movement. I also drew a little logo on my phone to go along with it, since I also posted the piece on YouTube. https://www.youtube.com/watch?v=5cCfkm8Jsf0
  2. Hello there! I'm a composer that's new to the Orchestral Setting and have some possibly general questions. I understand very little about String Instruments (Violin, Viola, Cello, Bass) and would like to know some techniques that I could use in my music, or even ways to divide up each section (I've seen things like 2 desks in Violin parts and understand that, but I don't know much else). Would string players please explain some extended techniques to me? Thank you in advance!
  3. I made my quintet piece a bit longer, yet I don't know what to think about it. Making a piece longer doesn't always make it better. The man in charge of the chamber group sent me their latest performance, without a single word attached to it. I assume that by doing that he asked me to make something closer to that. I really don't know what to do or what to think about the piece. Here's the link for their performed piece, please watch and see if you think that the level, style, and length of my piece fit to this group. Maybe it's a bit too much to ask for, but I set and listened to pieces that are much longer than that on this forum, I guess some of you would be kind enough to give me from their time. Audio might not be exactly the same as the notes. If you have the time for that, please look over the notes. Any feedback would be appreciated.
  4. I made my quintet piece a bit longer, yet I don't know what to think about it. Making a piece longer doesn't always make it better. The man in charge of the chamber group sent me their latest performance, without a single word attached to it. I assume that by doing that he asked me to make something closer to that. I really don't know what to do or what to think about the piece. Here's the link for their performed piece, please watch and see if you think that the level, style, and length of my piece fit to this group. Maybe it's a bit too much to ask for, but I set and listened to pieces that are much longer than that on this forum, I guess some of you would be kind enough to give me from their time. Audio might not be exactly the same as the notes. If you have the time for that, please look over the notes. Any feedback would be appreciated.
  5. The only real Ensemble piece I think I've ever written https://m.youtube.com/watch?t=61s&v=KRLE0oLd4IU
  6. Audio might not be exactly the same as the notes. If you have the time for that, please look over the notes. I'm about to hand this piece to the quintet's administrator and wanted to hear another musician's opinions before I do so. Any feedback would be appreciated.
  7. I uncovered this piece from a while back. I'd started it with the intention of it being music for an advert but it grew (by accident, I got carried away) into something bigger. I'm still under the impression it's only really background music. Let me know what you think. This was the last version i put to MP3 so I'm going back through it now to 'clean it up'
  8. Hello, all. This is a piece I've been working on for a while for string quintet -- two violins, viola, cello, and double bass (the resources I have) -- and I hope for this to be a multi-movement piece in the future once I have more time to write. This is a quick jig that introduces material that I hope to carry over into other movements. Let me know what you guys think!
  9. This is my latest cinematic orchestral piece "Gone". I would appreciate your feedback and suggestions. Click the YouTube link below: "Gone" by Karisa L. Clark
  10. Hey there, Here is another sketch. The first part is to capture the playful nature of penguins; the march is to portray a line of penguins marching along (it is still playful and simple, but in a more rigid, marching style). I honestly didn't go for a lot of part writing rules and stuff in this piece, but if you think that there are spots that could use some of that stuff, then please feel free to point them out. As always, any suggestions and comments are appreciated. Thanks!
  11. would like your feedback on this I want to publish this as a track it is an orchestra of strings
  12. Here's my first serious string quartet, recorded with electronic instruments so the dynamics are displayed very poorly. Separated in 5 small movements, with a backstory in the video description for whoever is interested.
  13. Greetings! This is my newest composition, and for the first time, I composed for a full string orchestra. The track and score are attached to the topic.
  14. Let me know what you see this piece fitting to, a movie scene, trailer, game, whatever it may be. On a side note, if you see yourself as a gifted mastering/mixer, please get in touch with me. I would love to pick your brain for some tips and pointers. Thank you in advance.
  15. Hello, This is a piece I have been composing for the past couple of days. Any criticism is welcome, although I may not go back to work on the piece further, so I just thought I would leave it here. Cheers -R
  16. Another piece written for nothing in particular, the mixing is not up to scratch as usual, however, feedback welcome as always.
  17. Hi all, my first upload on here. So, my friend came to me one day, having known that I liked to write and asked me to put something to some old footage she had of her grandparents. It took me a while to be happy with the outcome but eventually I got there. My background is classical from a young age although the last few years my knowledge seems to be failing me, as I don’t concentrate too much on what is right and what is wrong when it comes to the theory of writing. I play around until I hit on something I like. Let me know what you think 😬
  18. Hi to everyone! I'm back with a new piano & strings composition! The title is "the magic white and pink rose". I accept productive comments on my composition. I hope you like it.
  19. Instructor: @MonarcheonStudents Allowing: 7Initial Writing Requirement: As many bars as it takes to fit at least 7/14 techniques. Solo cello. Initial Writing Requirement Deadline: May 23rd Pretty simple class. Write a piece that incorporates at least 7 of these, but make sure that the cello still plays normal notes too, so that the extended techniques can be jarring and inventive. Also keep in mind that it will occasionally be difficult to switch between techniques very quickly, for example going from 3rd method to scordatura will be difficult to execute in a quick change. Keep this in mind when transitioning between sections. I will personally record all the submissions that best and most logically use the instrument's capabilities within the piece. Instrument Family Technique Name How It's Performed How to Notate String 2nd Method Turn the instrument on the side (for higher strings), bow the side of the bridge (harder for cello, but can do). Write by using an X notehead in the middle line of the staff. Label "2nd". String 3rd Method Bow the string beyond the bridge. Write by using an X on the line where the open string would be. Label "3rd". String Col legno Tap the bow's wood on the strings. Mark normal notes, and mark "col legno". String Tap/Hit Tap on the instrument in a designated location. However you want, but be logical. Be sure to label to tap, and also where to tap/hit. String Vibrato Markings Specfy the vibrato players use. I use (v+), (v-), and (v.) to mark with vib, without vib, and with slow vib, respectively. String Scratch Tone Very harshly bow the string to where the pitch is indeterminate. Use a doubled bow marking (i.e. make a smaller down bow marking within a normal one, same with up.) String Voice/Sing Speak, sing, or whisper instead of play the instrument. Use X noteheads to mark a contour of the line if speaking, normal notes, if sing. Mark lyrics below, and mark for them to sing/speak. String "Death Tones" Play an indeterminately high pitch, sound better when gliss.'d to. Normally harmonic triangles are used. These sound better as tremelos. String Ponticello Bow near the bridge. Pairs well with tremelo. Mark normal notes with "pont." String Silent Fingerings String player plays the left hand without using the bow or pizz. Mark "+" and a line/bracket designating the area of where the technique is to be used. String Scordatura String player will detune their instrument. Can be done within the work too. Use words to label detuning and retuning if in the middle of the piece. Dictate the open strings if at the beginning. MAKE SURE THE TUNING IS NOT FAR AWAY FROM THE NORMAL STRING. String Artificial Harmonic Ground fundamental with lower finger, and harmonic up a fourth. 15ma Normal note to indicate the fundamental. Harmonic notation for the second note, a fourth above. String Snap pizz. Harshly pizz. the note so the string rebounds off fingerboard. Mark a pizz. section with the cello thumb symbol (circle with line coming out of it). String Buzzed pizz. Lightly touch string with fingernail when pizz.'ing. Mark a pizz. section with "buzz", commonly using a line or bracket, designating the section.
  20. Another little something for critique (please rip it to shreds!) I'm not particularly happy with this at the moment. Feels like it's all over the place. I think my main issue is probably the strings — they just don't feel like they're working. It's probably a combination of the writing and the orchestration (and maybe the samples I'm using as well), but maybe some more seasoned composers can give me some tips here (especially at mark D...) As an aside, the director loves it, and is going to use it, but just for my own purposes I want to see if there's anything I can do with this to polish it up a bit. Score is attached, if that's helpful. Anyway, here it is in context (ungraded first cut):
  21. Hi peeps, Recently started composing again. Forgot that I even had an account on here from nearly 10 years ago, I feel old. Been trying to put together a sound for a film I'm working on at the moment. It's set mainly in the Australian bush, so I'm trying to go for a very raw, exposed sound. I've put up just one example. I've listened to it so much lately, it would be nice to get some second opinions. Please be as harsh as you like. Still trying to find "my sound"... Thanks!
  22. Hello, I'm new to this site. I only got into music about 3 years ago (I'm 19 now) and I need help because this is my first composition. So I understand most musical jargon, but I'm wanting to study Composition next year at a Music Conservatorium. Constructive feedback would be awesome! I know the piece isn't perfect which is why I need help!
  23. Hi, I'm back with a new classical ambient piano piece with the title "the lonely little flamingo". Represents the solitude. Give me feedbacks. Good listening! :) ---> The Lonely Little Flamingo <---
  24. Again, I was not sure whether this qualifies for the chamber music or the large ensemble category, but here it is. Powder Peony Waltz is a Viennese waltz written for whatever group of instruments I like (modified orchestral ensemble with ornaments in the form of a piano and celesta). I know that the transition between different keys is extremely awkward and chord progressions are not very fancy, but I was simply asked to write a quick small piece for dance class at my high school for their annual ballroom dance show. I intended to make this sweet, flowery, and light. Thank you for listening an enjoy!
  25. Discussions in D minor Hi All, This is another piece I've been working on in the last few months. I'm fairly happy with the music but the score is a mess and the dynamics in particular I could really use some help with, both in getting Sibelius to play it better, and in the actual musicians score. If anyone has any suggestions as to how I should go about getting a better sound, I would really welcome some tips. my music theory is not very good and all tips on glaring mistakes are really welcome too. As always I welcome suggestions and comments, good or bad on the music too. I have to say I like it as it is, but there is always room for improvement! Thanks in advance for listening. Mark https://www.dropbox.com/s/podfpbm41v...minor.mp3?dl=0 https://www.dropbox.com/s/io0ndaouob...minor.pdf?dl=0
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